The Guardian Rewrote Its Album Review to Appease an Ultra Zionist Organization

The Community Security Trust (CST) is an ultra Zionist body that cares for the ‘safety’ of a single ethnic group. A few days ago the CST boasted that The Guardian removed a link to my site from its music review of my latest album The Spirit of Trane. The campaign against the Guardian was largely led by the notorious pro war/Zio-con Harry’s Place that exhorted its Jewish followers to harass the Guardian and made the comment section below the music review look like a Palestinian village after an IDF visit.

”The article was amended on 3 November to clarify its purpose, which is to review the music.”

In the reworded review The Guardian omitted the following ‘grossly inflammatory’ lines.

“Gilad Atzmon, the expat Israeli saxophonist, clarinetist and author, has bitten off as least as much as he can chew on the subject of Israeli-Palestinian politics (his new book is titled Being in Time: A Post-Political Manifesto). This homage to his teenage hero John Coltrane is a less risky pursuit for an artist of Atzmon’s sublime musicality and skill.” (http://www.gilad.co.uk/)

I admit that I can see how disturbing these lines must be to people who support ethnic cleansing and racist expansionist regimes. The Guardian might have done the right thing by deleting the lines.

I suppose that my recent book, Being in Time – A Post Political Manifesto, hit a sensitive nerve. Despite the fact that no one has actually criticised any aspect of the book, either by challenging the validity of the argument or disputing any of the facts, Israel’s agents have utilsed every trick in the Hasbara manual to attack the book. They are targeting my music career, yet again, and in particular, they are attacking my tribute to the great John Coltrane.

It seems that these racist Zionists organizations go out of their way to give Jews a bad name. They may complain when anyone suggests that Zionists control the media, but then somehow they take credit when the media capitulates to their demands. I should be the last one to object. I am at the receiving end of a massive free Jewish PR campaign. It is no secret that jazz is a dying art form. The artists receive less and less media attention. However, the Zionists’ relentless campaign attracts a big audience to my music as well as for my thoughts and my writing. In line with jazz greats such as Trane, Bird, Dizzy, Max Roach, Mingus and many others, I see my art as a revolutionary force. It is a social commitment. It presents the prospect of a better future. It is what I do, it is what I believe in, it is why people follow my music and it is exactly why some Jews both Zionist and ‘anti’ strive to have me muted.

Yet in spite of the relentless attempts to defame me, no one has actually managed to find racism or anti-Semitism in any of my work. Instead, they resort to calling me ‘names’ and then either fabricate quotes or take words completely out of context. If I were such a vile anti-Semite and a racist, then how would it be possible that the entire Zionist universe has failed to substantiate it. If my book The Wandering Who? were the “most anti-Semitic text published in Britain in recent years,” as the ultra Zionist CST insists, how could it be that it is distributed all over the world including Israel. Why can’t the CST, the CAA and their line of Jewish barristers and lawyers find, once and for all, the bigotry in it? Believe me, they have tried everything, but they haven’t found a thing.

To grasp the dystopia in which we live read Being in Time - A Post Political Manifesto, Amazon.co.uk , Amazon.com and here (gilad.co.uk).